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Way to the woods ost3/28/2023 ![]() ![]() “Beth Wood is a musical triple-threat - a thoughtful songwriter and talented multi-instrumentalist with a supple, soulful voice. “A voice and songs this strong are bound to persevere.” - Dallas Morning News I hope you’ll explore my music and poetry and find something useful here! I am so grateful for this life and for all of you who support and encourage me on my path. Twenty-five years as an artist have inspired and humbled me beyond imagining. I recently released an album of original songs called Love Is Onto You that I hope will find its way to your ears. I can’t believe it, but I’ve released fifteen CDs, three books of poetry, and a book of awkward stories from the road. These adventures have resulted in thousands of live shows, boatloads of wonderful memories and collaborations, and countless weird situations that all add up to my life as a musician and poet. I’ve been writing, performing, recording and touring for most of my adult life. This device will help to facilitate transitions for the rest of the show.Hello there, I’m Beth Wood – modern-day troubadour poet and believer in the power of song. This repetition of two musical ideas that are strongly associated with Cinderella helps establish where we are in the narrative. ![]() This then transitions into another reprise: the tune “I’ve been good and I’ve been kind, Mother” is clearly borrowed from her earlier exchange with her stepsisters (“Hurry up and do my hair, Cinderella.”) This then is our first major example of associative music. It is Cinderella’s call to the birds, previously heard in the prologue. As the scene begins, we hear a familiar tune underscoring the narrator’s dialogue. As the first of its kind, it must set the precedent for those that will follow. The following scene, “Cinderella at the Grave,” is our first break from the chaos of the opening – a scene that focuses on one character and one storyline. It must introduce eleven distinct characters, establish their desires, set the action of the show in motion, and create a musical language through which of all this can be better understood. In this way, the audience is better able to differentiate the various storylines. Basically, follow the sound of the music. Music is used as an identifier – once a musical idea is associated with a specific character, it can then be used to signal the entrance of that character, as music underscoring his or her dialogue, or even sometimes in a moment where the character is being referenced by someone else. There are multiple pathways and going the wrong way transports you straight back to the entrance. we are making changes to the way we have done this festival in the past. ![]() Into the Woods is a highly repetitive score, but these repetitions are never arbitrary. Spirit of the Woods Music Association and Folk Festival, Brethren, Michigan. (Significantly, many of these are built on the interval of a major second – an excellent example of how the wish motive is developed throughout the score.) Aural associations are perhaps even more significant in terms of unification. An orchestral ostinato – a repeated rhythmic, harmonic, or melodic pattern that repeats underneath the melody of the piece – accompanies nearly every number in the show. However, Sondheim also relies on accompanimental ostinatos and aural associations to unify the score. Much of the score relies on the development of these three motives. ![]()
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